Sunday, 23 October 2016

In this article we write a complete information hollywood 'Off Frame: Revolution Until Victory' Film Review And News . In this article we write a list of horer movies missons movies civil war movies based on jungle movies batman movies superman movies Warcraft movies based on animal movies based on biography drama comedy adventure based on full action movie based on full romance movies based on adventure action and other type of movies details are provide in this article. A good collection of all fantastic movies 2016 are here

New Hollywood 'Off Frame: Revolution Until Victory' Film Review And News:
This documentary by Mohanad Yaqubi looks at the struggle of the Palestinian people to produce and find their own image(s).
A fascinating and necessary nonfiction film, Off Frame: Revolution Until Victory (Kharej Al-Itar aw Thawra Hata el Nasser) looks at the struggles of the Palestinians through their own eyes. Director Mohanad Yaqubi relies on rarely seen footage from the Palestine Film Unit, a group founded in the 1960s that wanted to document the Palestinian revolution on film, and contrasts this raw material with excerpts from other sources as well as a glimpse of modern-day Palestine.

The result is a necessarily incomplete but frequently captivating essay film that gives Palestinians the opportunity to see something of their own history as captured by themselves and gives everyone else a glimpse into part of an ongoing conflict that’s been rarely documented directly from the Palestinian perspective (and even less frequently through first-hand audiovisual material). It should appeal to both general and non-fiction festivals and broadcasters.

The raison d’etre of the project is explained, onscreen, early on: “The following film tells the story of a people in search of their own image”. While this might sound pompous or come off as grandiose in most other cases, this very direct statement only highlights the fact that, indeed, the Palestinian people don’t have much of an idea of themselves in terms of direct visual material that hasn’t been filtered through outside sources, whether they are Israeli, British, French, American or come from the larger Arab World. This immediately explains the necessity of this particular project.

The core of Off Frame is a panoramic overview of some of the material shot by the Palestine Film Unit (much of what they shot was lost after the 1982 invasion of Lebanon). It consists of material relating to Palestinian fighters and their causes and actions — “I don’t like killing; I might kill or be killed but that’s for the sake of peace,” one soldier explains — but also various other types of material, including a surreal, gently mocking scene in which children, dressed up as adult clichés, are used to explain the Israeli-Palestinian conflict and why the West is so interested in the Middle East.

Arcadi Gaydamak (center) in director Maya Zinshtein's 'Forever Pure'.
READ MORE
'Forever Pure': Film Review
As a general overview of the struggle of the Palestinians during the second half of the twentieth century, Yaqubi manages to be surprisingly nimble whilst covering a large range of topics. Footage of Palestinian refugee camps in Jordan thus gives way to shots of women taking literacy and political classes (the later heavily influenced by foreign ideas of revolution from Latin American, China and Russia; this connection also pushes the film itself into Third Cinema territory).

Presented without additional commentary (though sometimes enhanced by excellent foley work), much of this footage will gain additional resonance only for audiences that will have some familiarity with the situation in the Middle East over the last seven decades. The school-going adult women, for example, practically all had their heads uncovered back in the day, for example, while old photos of Palestinian fighters of all ages ago show them smiling, the very opposite of the videos of the severe fighters of IS we get to see nowadays.

One of the recurring mantras, expressed by on-the-ground soldiers and all the way up to the military and political leaders, seems to be that the Palestinians don’t want to fight or conquer anyone but that they won’t accept being driven out of their own homes either. “Love (for our country) is our motive, not hatred,” notes one of them and variations on this are heard throughout the film.

However, since the material is edited together in what appears to be a roughly chronological order but without any specific reference to when or where any of it was shot and what was and wasn’t filmed by the Palestine Film Unit, it is often hard to get a handle on the specifics of what’s presented. An interview with Arafat, for example — in which he also underlines that “we do not want to fight” — is of course a necessary piece of the puzzle but it would have helped to know who shot it and where and when.

Some of Off Frame clearly consists of material from Western broadcasters in what looks like the 1960s and 1970s and some famous faces pop up, including Vanessa Redgrave and Jean-Luc Godard (the latter’s pro-Palestinian 1970 documentary Jusqu’à la victoire partially inspired this film’s moniker; the French filmmaker would recycle some of the material from that film for his 1976 feature Here and Elsewhere). These nuggets offer valuable contextual material but also dilute the film’s main idea, which is to try and create an image of the last six decades or so of Palestinian life and struggles using their own images. Whether Yaqubi finally succeeds in his lofty tusk is thus somewhat hard to assess.

The film also tries to further contextualize the historical material by showing images of Palestine today toward the end, including children at school. This image immediately creates a subterranean link to not only an earlier sequence involving school children being indoctrinated in grainy color footage — “Can we negotiate to get our homeland back?” a teacher barks; “No!” is their deafening answer — but also to a humble fighter being interviewed. The latter is asked how long he’ll think the armed struggle will have to continue. “Whether it’s three or five or even 10 years, it doesn’t matter,” he says optimistically. “My children will finally profit from it”. Whether the hypothetical children of his children, who might be attending that school in contemporary Ramallah now, profit from it now is one of the main unanswered questions of this imperfect but fascinating time capsule.

In this article we write a complete information hollywood 'On the Road': Film Review | London Film Festival 2016. In this article we write a list of horer movies missons movies civil war movies based on jungle movies batman movies superman movies Warcraft movies based on animal movies based on biography drama comedy adventure based on full action movie based on full romance movies based on adventure action and other type of movies details are provide in this article. A good collection of all fantastic movies 2016 are here

New Hollywood 'On the Road': Film Review | London Film Festival 2016: Featuring performances by British neo-grunge outfit Wolf Alice, and Leah Harvey and James McArdle as new lovers, director Michael Winterbottom's new film is both a rock documentary and a romance.
There was a time, back in the late 1990s and early 2000s, when it felt like there was a new film from British director Michael Winterbottom every couple of months, each one assaying a new genre or style. Protean and prolific, he made literary adaptations both straight (Jude) and twisty (Tristram Shandy: A Cock and Bull Story), dark dramas (The Killer Inside Me) and light comedies (the Trip films, among others, and arguably his best, 24 Hour Party People). There were documentaries and docudramas (The Road to Guantanamo), and even the odd bit of sci-fi (Code 46) and quasi porn (9 Songs).

Having arrived at his mid-50s, Winterbottom finally seems to be both slowing down moderately and slightly repeating himself. It’s been a whole year since his last film, the documentary The Emperor’s New Clothes, tracked comedian-cum-agitator Russell Brand, revealing political sympathies that were evident in The Shock Doctrine, his 2009 documentary collaboration with Mat Whitecross. Meanwhile, Winterbottom’s latest, On the Road, premiering at the London Film Festival, plays like a softcore version of 9 Songs, remixed with one of those band-profile documentaries that provide fan service for folk who couldn’t make the concerts.

Mostly, it unspools footage of indie rockers Wolf Alice, plus support acts Bloody Knees and Swim Deep, as the bands tour the U.K., sleep on tour buses, wait in green rooms, natter, bicker, josh around and, most importantly, perform onstage. Threaded in amongst this documented footage, a fictional romance, its dialogue seemingly improvised (no screenwriter is credited), blooms between record company gopher Estelle (Leah Harvey) and roadie Joe (James McArdle). When he’s not making sure the drum kit is set up correctly and she’s not hunting down towels for the dressing rooms, the comely couple get jiggy with each other in a series of hotel rooms.

It’s all pleasant enough to watch, especially if you like the neo-grunge music and enjoy watching attractive young people make out (clearly, Winterbottom is a big fan of both things). However, those not so turned on by such entertainment might question whether the film really needs to be nearly two hours long, especially when there’s so little drama to sustain it.

Both Harvey and McArdle are young, but they’re both experienced actors, especially onstage in Harvey’s case (McArdle had a small role as a pilot in Star Wars: The Force Awakens), and they have the sort quirky but imperfect beauty that makes them plausible as music-business background players. Harvey actually plays a quarter-sized guitar and sings very prettily at one point, and one is left to wonder how her character ended up in management rather than performance. McArdle’s Joe has a peculiar wry charisma, and a lightly drawn scene where he meets his mother (Shirley Henderson) in a Glaswegian pub suggests a deeper backstory. Ultimately, though, the sketchiness is more frustrating than suggestive, and altogether the film seems to buy into the mythology of band life (and film life, for that matter) that nothing really matters when you’re on the road. Everyone lives for the moment, and what happens on the tour bus (or on location) stays there.

The professional musicians, effectively playing themselves, are even greater ciphers here. Footage of Wolf Alice answering journalists’ questions fills in a few blanks, such as where they got the band’s name (an Angela Carter story) and a few other details, but by and large lead singer Ellie Rowsell remains enigmatic and remote when not rocking out onstage. There, her natural charisma has an electric effect, and Winterbottom displays once again, as he did with 9 Songs and 24 Hour Party People, that he has a natural flair for communicating the intense, sweaty relationship between performers and their fans.